For much of my artistic life, my sculpture has been a response to a long-term investigation of the transient nature of the human figure. My starting point in the creative process begins with simple materials such as wax, plaster and clay and after a process of maturation is finally formed into glass, bronze and ceramic.

Each of these materials becomes a word in a growing vocabulary, allowing me the possibility to express more with the properties of the particular substance. I am seduced anew by the tension between the advantages, and limitations that each presents. Each one teaches me about the other and causes a situation of cross-pollination. Each one is a process that involves intensities of heat integral to the final transformation of one substance giving way to another. The intrinsic qualities of these materials speak to the corresponding strengths, frailties, and the innumerable mutable as well as unexpected states of human-ness… as well as becoming a paradigm for the cycles of nature through the symbolic transposition of these aspects to specific materials used within each of the art works.

My time spent in the living libraries of North, Central, and South America forests, amidst various indigenous peoples has profoundly influenced my art. Much of my work has been in direct response to my different experiences living with the Yanomami peoples of Brazil and Venezuela, where I filled volumes of my sketch books with all types of plant forms. These sketches would become the nucleus for an internal record of the many varied elements of plant anatomy, leaf, stem, seed, stamen, blossom, thorn that would form a lexicon of symbolic natural elements that would infuse much of my later work.

The close observation from nature metamorphosed into my own vision of the natural forms much in the same way that my dual interest in human forms has also progressed. I became intensively focused onthe understated, little appreciated, relationship of humanity with the plant kingdom, which despite our efforts to destroy it sustains our existence upon this planet. Two emergent themes of my visual universe came forth in the consistent portrayal of the human form and the dynamics of organic plant forms as sharing a common morphology. This correlation led to an almost unconscious intermingling of both kinds of shapes in the resultant final image or object where the somatic knowledge of each resonates within the other in the manifestation of hybrid forms. This work seems to come of a compulsion to 're-bioengineer' the concept of the human species, co-mingling the structural elements of both but stressing plant-like sensibilities.

I am more concerned with the intuitive process of art-making that is fired by the emotions and fed by feelings inspired by larger ideas. Though the type of concentrated effort needed to evolve artistically I hope a process of homeopathic distillation and concentration will occur, where the essence of what is left will act upon and speak to the viewer with a greater intensity.

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